IN ENGLISH. Anton Chigurh, the main villain of the Coen Brothers’ No Country for Old Men (2007), has been called a ”Monster for the Ages.” What makes him so? Jens Kjeldgaard-Christiansen shows how a moral psychological perspective can render the aesthetically supercharged antisociality of the character intelligible.
VIDEO-ESSAY. Fans of the BBC’s Sherlock very actively have taken the show to their hearts. How does Sherlock succeed in involving its worldwide audiences in the show? In this video-essay Palle Schantz Lauridsen examines audience involving strategies within and around the show.
VIDEO-ESSAY. Hou Hsiao-Hsien is a great, but somewhat underappreciated Taiwanese auteur, known for his long takes and slow pacing. In this video-essay, Adrian Martin and Cristina Álvarez López explore his unique style as seen in a scene from the 1995-film Good Men, Good Women. Mirroring the tempo and attention to detail in Good Men, Good Women, this video-essay tries to capture the very essence of Hou Hsiao-Hsien’s aesthetic.
IN ENGLISH. An unlikely route to originality: see how the unusual visual design and color pallette of Tinker Tailor Soldier Spy is inspired by Erwin Fieger’s photographs.
FEATURE. In terms of style and content, the new Twin Peaks is radically different from the original series, and it includes abstract references to different David Lynch productions while combining familiar faces and places with new situations, stylistic choices and characters. In many ways, the new series is about “returning,” about going back and trying to rediscover or even recreate Twin Peaks, but the revival is not a nostalgic revisit to a cozy, All-American small-town. That gum you like has come back in a different style.
IN ENGLISH. In space no one can hear you scream. This presents an audiovisual paradox. Because how does one create an auralverisimilitude in a space film, if virtually no sound is heard in outer space? In this article Andreas Halskov focuses on the sound of Alfonso Cuarón’s Gravity (2013), a sound design or sound score which in many ways is similar to that of Stanley Kubrick’s 2001: A Space Odyssey (1968).
INTERVIEW. After cutting his teeth as a filmmaker with a series of acclaimed documentaries for the BBC during the 1990s, Pawel Pawlikowski (born 1957) was named Most Promising Newcomer by BAFTA for his feature début Last Resort (2000); the follow-up, My Summer of Love (2004), won the BAFTA award for Best British Film of the Year. But neither picture felt obviously British, since each reflected a border-zone existence (literal or figurative) in a sometimes beautiful, sometimes horrific country. Indeed, both of these films are imbued with the sometimes wry, often sardonic spirit of the Czech New Wave of the 1960s; accordingly, each is less a convoluted narrative than a fable-like character study more preoccupied with the “unrepeatable” moments offered by idiosyncratic actors than with the idolization of glamorous stars.
IN ENGLISH. Alfred Hitchcock’s classic Notorious (1946), starring Cary Grant, Ingrid Bergman and Claude Rains, demands that we explore free-floating responses to its tormented triangle of characters. In terms of genre, is it suspense thriller or romantic melodrama? Go inside, around and about the film with Adrian Martin and explore its style, meaning and form.
IN ENGLISH. Godard’s 3D-film Adieu au langage (2014) shapes a new cinematic aesthetic of 3D that is decidedly non-immersive. Placing the film in the history of Godard’s cinema and in the history of 3D cinema, Mathias Bonde Korsgaard argues that the film at once points to a potential crisis of the 3D film as well as its radical artistic possibilities.
VIDEO-ESSAY. David Lynch’ films are full of paradoxes, and in this video-essay Andreas Halskov deals with two of the Lynchian paradoxes (the genre paradox andthe register paradox), as seen in three of David Lynch’s famous productions: Blue Velvet (1986), Twin Peaks (ABC, 1990-1991) and Wild at Heart (1990).